Desert Cure is the third CD by The Henrys, and features the (then) core band of Monte Horton, Michael Billard and the late David Trevis, with guest Michael White, John Sheard and of course vocalist extraordinaire Mary Margaret O'Hara.----Reviews

The third disc from this mostly instrumental Toronto combo firmly establishes Don Rooke as one of acoustic guitar's greatest unsung heroes. Playing lap-style slide on historic Weissenborn and Kona guitars, he alternately evokes the smooth perfection of Jerry Douglas, the languid soul of Ry Cooder, and the dreamtime whimsy of Bill Frisell. But such comparisons are mere reference points - Rooke is a startling original who seems constitutionally incapable of resorting to slide cliches. His tone is drop-dead gorgeous, his technique mirror-smooth, yet he has a mischievous chromatic streak that keeps things from getting too comfortable. The other musicians are formidable too, especially Monte Horton, whose keening electric work is a perfect counterweight for mellow-toned Rooke. Their rhythm section gravitates toward easy, Caribbean-flavoured grooves, but they, too, spike the punch with piquant dissonance - is there such a thing as "tropical noir"? Fretwork of the first order, well worth seeking out.

-Guitar Player, review by Joe Gore, November 1998

====================Don Rooke's work on various slide guitars, from the kona to the lap steel to something called a Sonar Zombie, recalls the erudite ramblings of Bill Frisell. This ensemble (which sometimes includes the vocalist Mary Margaret O'Hara) surrounds his playing with sunset tones.

-New York Times 'Treats for Off-the-Menu Tastes', review by Ann Powers, January 14, 1999

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It's hard to imagine The Henrys in a rush to do much of anything, and that's a good thing. Over three records, the group's learned to put that pace, or lack of it, to good use, letting the songs unfold gradually without ever losing the plot or getting sleepy. As the title suggests, the local quartet's third disc finds the group supplanting the Hawaiian ambience of 1996's Chasing Grace sessions with an even more understated Dust Bowl feel. Organ, trumpet and softly blown conch shell are added to the diaphanous arrangements, and Mary Margaret O'Hara returns...but the real focus remains Don Rooke's slide guitars (Kona, Weissenborn, dobro and lap steel) weaving in and out of the languid soundscapes and hinting at pop melodies without ever becoming that contained.

-NOW Magazine, review by Matt Galloway, September 1998

====================Neither world, blues, country, reggae, new age or rock, but with a healthy dose of each of these categories and more...You have a sonic landscape that may take its energy and influence from one source, but turns it into something new and unique each time. There are sound snippets, slow tunes, funky tunes, menacing tunes. Wonderful!"

Oh, baby, every once in a while you run into something really special. These two blessed discs by this apparently alien outfit from Toronto defy, decry, and refry description.

Our story begins with the irrefutable genius of leader and slide player Don Rooke. Mostly he plays an antique slide guitar called a Kona. He calls it "...a rare acoustic instrument with unique tonal purity. Konas were manufactured out of Hawaiian koa wood in the 1920's. It is played slide style, flat, with a small steel bar." In this case, when you're Don Rooke, it is played with sheer genius. He is the musical equal of slide masters Ry Cooder and David Lindley, as well as the phenomenal Dave Tronzo and Indian wonder V.M. Bhatt. His haunting compositions leave few genres untapped, combined and turned out like reversible flowers.

Along with the Kona, Don also uses a Weissenborn, National Tricone, and Hawaiian King guitars, and cuts the occasional acoustic track. The fretting guitarist is the graceful, the eloquent Monte Horton, a superb and very original player, first rate ensemblist. Producer John Sheard contibutes masterfully and essentially on keyboards, standing out memorably in select moments when called upon. David Trevis on bass and Michael Billard on drums are an inspired, flawless rhythm section, a composer's dream. Michael White plays beautiful trumpet and conch shell, sparingly used. Special guest Mary Margaret O'Hara on vocals, she's simply amazing. Microtonal, sings in tongues, oblique and omnipresent, looming in the studio corners. Truly rare.These landmark records of (mostly) instrumental genius cannot be found in stores, but can be purchased from the artist Don Rooke at their website. I am hard pressed to find words adequate to their level of artistry, but am conversely pleased to be able to offer our readers a chance to listen instead, to tracks jazzmospheric and sometimes lethally funky, sample a couple from each record on the listen page. Incredible acts unknown, thugs rule. What a world.